on more than one occasion i have had to tell students not to put their teachers on some holy untouchable pedestal, especially when seeking out college programs or internships with “famous” artists as faculty or facilitators.
as i’ve mentioned several times before, a great artist doesn’t make a great teacher, but even from the pragmatic, career-focused perspective, an artist of one generation cannot tell younger artists how to “make it” professionally i.e. pay your bills off your art
more often than not in my own experience, my “idols” had turned out to be either independently wealthy from the get go, which, when you take into account how much extra time they had to hone their craft compared to the less economically fortunate, can explain a lot.
lacking self awareness to see how your cushy upbringing was may have set you up more for creative “success” than the average aspiring artist is obviously a problem if you’re a teacher
but what’s worse is when the ego of the educator prevents them from admitting to their students that they do *not* have it all figured out, none of us have.
the professional landscape in the music industry alone has changed ten times over even since i was in college. what the hell do i know about making a living strictly off your art in the year 2021 that my students hadn’t figured out when they were in middle and high school?
your teachers are humans, students should feel comfortable enough with their educators to critique their classroom approach in a professional manner without fear of ego-stricken repercussions.
students: don’t be awestruck by your famous teachers or mentors, and don’t let them pay you in “experience” either if you end up working for them.
i know it feels amazing to feel appreciated by someone you admire, but this is a slippery slope to being taken advantage of for your labor. just like any other late capitalist industry, many artist success stories are written by their uncredited and underpaid staff and interns.
so work with your teachers, keep admiring the mentors you seek out. but remember they’re people too, and people will always have their flaws both professional and personal. if your gut tells you it ain’t working out, even if you love their artwork, go with that gut instinct.
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the pedagogical argument that we should be approaching electroacoustic vs. pop electronic music composition differently beyond strictly the immediate aesthetic level is an outdated and often racialized argument.
barry schrader defines electronic music as anything that requires electronic transduction, something as simple as amplification or speaker reinforcement.
by this definition, we can begin to draw parallels not only from the technological perspective, but from the compositional perspective as well.
the ability to not only improvise but improvise *collaboratively* is a means of demonstrating emotional intelligence through sonic expression
your ability to read your partner’s next move during a set is on par with holding your own and articulating yourself in conversation, in other word’s it’s essential
very few conservatories teach improvisation skills outside of specific contexts (i.e. jazz performance, ethnomusicology), which is dumb because “conserving” musical traditions would include improvisations even in western classical settings.
it’s truly important to always k*ll yr idols to some extent. it’s weird when you come to the point in your artistic career or whatever you wanna call it and you realize half the shit youve learned to do right was through seeing horrible mentors do it wrong.
case in point my high school music teacher taught me exactly how not to foster creativity in a young artist aspiring to get their foot in the door of higher music education
i never did well in music theory class in high school, i ironically failed AP theory one semester cuz i often skipped class to go to auditions and testing programs for music composition bachelors programs
music doesn’t need to require active engaged listening in order for it to have merit, there is joy in leaving something on in the background while completing other tasks
while on the other hand, we can all benefit from actively listening to the # menial sounds that surround our day to day. does your personal acoustic ecology have a noticeable noise floor? what about a noticeable pitch?
it’s almost as if the recorded sound media is incredible because it allows us to *choose* whether to engage with it directly or allow it just to exist in our surroundings while we go about our day